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拍品专文
The present work is part of Pablo Picasso’s series of works of Mousquetaires. The peintre-cavalier was already a stock character in Picasso's artist and model series, which he had been working on since 1963. The impetus for the new emergence of the mousquetaires in the artist’s oeuvre however may be traced to early 1966, when the artist was undergoing a long convalescence from surgery at his home in Mougins. Unable to work, he passed the time by reading many Spanish and European classics. He spent long hours with the novels of Balzac, Dickens, and purportedly Dumas's The Three Musketeers and the plays of William Shakespeare. When Pierre Daix asked the artist about the sudden appearance of so many mousquetaires in his recent work, Picasso replied: "It's all the fault of your old pal Shakespeare" (quoted in P. Daix, Picasso, Life and Art, New York, 1993, p. 355).
Inspiration for the mousquetaires was only in part literary. During this period Picasso had been intently studying Otto Benesch's six-volume catalogue of Rembrandt's drawings, as well as illustrated books of the paintings. Picasso would project slides of Rembrandt's The Night Watch on to the walls of his studio. John Richardson believes that Rembrandt was "an all-powerful God-like figure whom Picasso had to internalize before he died" (quoted in Late Picasso, exh. cat., Tate Gallery, London, 1988, p. 34). Picasso's fascination with the baroque cavalier had the advantage of connecting him with an entire network of old masters: besides Rembrandt, Hals and others of the Dutch school, there was Velázquez and his compatriots from the golden age of painting in Spain, Picasso's own native tradition.
Popular cinema also had an influence on Picasso's fascination with mousquetaires. As John Richardson has noted, "Picasso was a movie buff and is unlikely to have missed Bernard Borderie's popular 1961 movie Vengeance of the Three Musketeers" (Picasso, Mosqueteros, exh. cat., Gagosian Gallery, New York, 2009, p. 20). Picasso and Jacqueline liked to watch old movies on television, and might also have seen some of the other Three Musketeers films made with sound in France and Hollywood between 1933 and 1966.
Picasso took great pleasure in ascribing specific personal qualities to his mousquetaires. Hélène Parmelin recalled how the artist would pull out the pictures, and pointing to one or another, remark, "With this one you'd better watch out. That one makes fun of us. That one is enormously satisfied. This one is a grave intellectual. And that one... look how sad he is, the poor guy. He must be a painter" (quoted in Picasso, Tradition and Avant-garde, exh. cat., El Museo del Prado, Madrid, 2006, p. 340).
Inspiration for the mousquetaires was only in part literary. During this period Picasso had been intently studying Otto Benesch's six-volume catalogue of Rembrandt's drawings, as well as illustrated books of the paintings. Picasso would project slides of Rembrandt's The Night Watch on to the walls of his studio. John Richardson believes that Rembrandt was "an all-powerful God-like figure whom Picasso had to internalize before he died" (quoted in Late Picasso, exh. cat., Tate Gallery, London, 1988, p. 34). Picasso's fascination with the baroque cavalier had the advantage of connecting him with an entire network of old masters: besides Rembrandt, Hals and others of the Dutch school, there was Velázquez and his compatriots from the golden age of painting in Spain, Picasso's own native tradition.
Popular cinema also had an influence on Picasso's fascination with mousquetaires. As John Richardson has noted, "Picasso was a movie buff and is unlikely to have missed Bernard Borderie's popular 1961 movie Vengeance of the Three Musketeers" (Picasso, Mosqueteros, exh. cat., Gagosian Gallery, New York, 2009, p. 20). Picasso and Jacqueline liked to watch old movies on television, and might also have seen some of the other Three Musketeers films made with sound in France and Hollywood between 1933 and 1966.
Picasso took great pleasure in ascribing specific personal qualities to his mousquetaires. Hélène Parmelin recalled how the artist would pull out the pictures, and pointing to one or another, remark, "With this one you'd better watch out. That one makes fun of us. That one is enormously satisfied. This one is a grave intellectual. And that one... look how sad he is, the poor guy. He must be a painter" (quoted in Picasso, Tradition and Avant-garde, exh. cat., El Museo del Prado, Madrid, 2006, p. 340).